DSC00460 copy.jpg







Jussi Goman's paintings have been subject to change in recent times. Humour and ease still abound, but now the artist also lets an interest in Art history shine through. For a long time, Henri Matisse (1869-1954) was for Goman an abomination from the past, but now he is a fascinating subject worthy of study. Matisse's name, like all other big names in the history of Art, no longer cause a shudder in Goman, but rather make him raise an eyebrow in interest. Tradition has in a way become just another material that can be utilised in the same way as any other material in his painting.

A combination of acrylic lacquer and acrylic paint gives Goman's paintings a nature reminiscent of watercolours. This is reflected in his traditional expression of painterliness, and highlights the artist's relaxed touch. The interaction and cooperation between formal and informal is one of the hallmarks of Goman's works. In this regard, the blending of a variety of labels or codes already approaches a kind of methodology, through which the artist attracts his audience and makes them follow a variety of mental leaps and suggestions. We move forward as a large composition, but one where each ingredient has it's own voice. Goman has recently been interested in still life painting, and it shows.

The history of the still life is a fascinating realm, where quiet periods stand for both material attractiveness, and at other times for moral or informational questions, while now and again this bricolage includes a chain of association between pieces that forms in accordance to Kierkegaard's concept of the Leap of Faith. In a still life, the ensemble can simultaneously be seen to speak for the material goodness of life, and still be a memento that everything is fleeting. Luxurious materials and objects are equally signs of wealth, something that can also be lost in an instant, but they are also a reminder of the artist's ability to create illusions. Still life painting is, therefore, always polyphonic and metaphysical, because it speaks both of the world and itself.

Placing details and three-dimensional objects on the surface of the painting is Goman's way of pointing out towards the tradition of painting, but also a means of paying attention to the process of painting itself. When is the work completed and when does it become itself? Is a small detail so powerful and important that it is sufficient for the work to become a piece? Maybe the spectator always needs something to latch on to and, therefore, a point that allows him to focus on the work. I need a detail or a moment that allows me to acquaint myself with the artist's thoughts and suggestions. I need a personal touch, and, therefore, the process of perceiving or experiencing art is reminiscent of creating art.

But back to the Goman and his artistic work. In 1935, Matisse wrote in his essay Modernism and Tradition, that "the most important thing is the relationship between the object and the artist, his personality and the ability to organise his sensations and feelings." Goman seems to follow Matisse's idea by precisely placing something very subjective, something on the medium of painting, and some related reference in his paintings. This wedding-dress like assemblage is to me a kind of wise eclecticism, in which Modernist, Post-modern and Pre-modern ways of seeing produce a synthesis, which focuses on the artist's own personal vision . This personal nature in his works is to me almost like a tool or method.

A Gomanian method of note for me is his sense of humor. Also his materiality, for me, is methodological. As Julia Kristeva writes in her essay Giotto's Joy, "colour floods over the lines, softens them and makes them more dynamic - it thus becomes a 'tool' that can be used to avoid the identity and realism of objects." Kristeva draws our attention to how colour can create a variety of connotations and meanings, all daisy-chained to one and other. An association breeds another association and we move on again over to the next. Goman's method in this show is an almost Matissean clarity of colour, and a substantial reliance on their inherent force. Colour is not only a servant, but a power upon which one can throw oneself.

What about the death metal mentioned in the title? It is present in some of the paintings as a distantly perceived flavouring, that crashed happily with a Leonardo da Vinci reference found in another painting. The resulting clamor is not fatal, but rather the very essence of tragicomedy, where crying alternates with laughter and sorrow gives way to manic behaviour. Thus Jussi Goman follows both Modernists and

Traditionalists, and creates a world of its own laws, a Go-Go-Gomanlandian , into which it is a pleasure to enter. 

FT Juha-Heikki Tihinen


DSC00460 copy.jpg



Jussi Goman

Born 1980 in Pudasjärvi, lives and works in Riihimäki, Finland.

Represented by Galerie Forsblom.

tel. +358 44 285 0086


home page:


Art Studies

2001 –2008 Master of Arts, Finnish Academy of Fine Arts, Department of Painting

2000 – 2001 Kankaanpää Art School (Satakunta Polytechnic)


Solo Exhibitions

2017 Big Bang Vol. 2 15.9.-8.10.2017, Galerie Forsblom

2016 ”Sense” 8.4.2016-8.5.2016, Galerie Forsblom studio

2015 ”Bubble Bobble”, gallery Forum Box, Helsinki

2014 ”Quick Fix”, Korjaamo Gallery (studio), Helsinki

2013 ”Good to Go”, TM Gallery (Finnish Painters' Union gallery), Helsinki

2012 ”In the End” (”Loppujen lopuksi”), gallery Forum Box, Helsinki

2011 ”Paintings”, ARX Gallery, Hämeenlinna

2011 “Laissez-faire”, Helsinki Art Museum, Kluuvi Gallery, Helsinki

2010 “Goodbye Sweet Dreams”, GalleriaKONE, Hämeenlinna

2009 ”Paintings”, Galleria Huuto (Uudenmaakatu), Helsinki

2006 ”Arificial Smile”, Finnish Academy of Fine Arts gallery (Gallery Fafa), Helsinki

2003 “Käytävä!” -exhibition, Finnish Academy of Fine Arts, Helsinki


Other Exhibitions

2017 Market Art Fair, Galerie Forsblom booth/solo show, Tukholma

2016 ”Haava”/Seppo Fränti Collections, Lapinlahti Hospital, Helsinki

2016 Haihatus, summer exhibition

2016 ”Spaced Out” (”Ihan tiloissa”), Oulu Museum of Art

2015 30th Anniversary Exhibition of the 'Ars-Häme' Association, Hämeenlinna Art Museum

2015 BELA Biennale, Brazil

2014 ”ArtHelsinki”, 15th Anniversary Exhibition of Art of Basware, Helsinki

2014 ”Festen”, gallery Forum Box, Helsinki

2013 ”Into the Woods”, Knipsu Gallery, Bergen, Norway

2013 ”Artist Chain”, Pop Up Art House, Diana Stage, Helsinki

2013 Nordic Watercolour Exhibition, Huddinge, Fullesta Gård, Sweden

2012 ”Fun!”, group exhibition (curating with Timo Vaittinen), Riihimäki Art Museum

2012 “Believe it or not - New Works from the Collection”, Helsinki Art Museum, Meilahti

2011 “Slow Magic - Pshycoanalysis and Visual Art”, Biennale of Riihimäki Artists Association, Riihimäki Art Museum, Riihimäki

2011 “Sound and Silence”, collection exhibition, Hämeenlinna Art Museum

2011 The Festival of Degenerate Art of Finland, Helsinki

2010 Ars Auttoinen, “My World” (”Maailmani”), Padasjoki

2010 Galleria ARX, “Hämeen nuoret”, Hämeenlinna

2009 & 2010 Taidehalli, Exhibition of Young Artists, Artists’ Association of Finland, Helsinki 2009 Oulu City Art Museum, ”Ihmisen jäljet”, Oulu

2008 Biennale of Riihimäki Artists Association

2008 SKJL:n 70-vuotisjuhlanäyttely, “Neljä ulottuvuutta”, Voipaala Art Center, Sääksmäki

2008 PudART 2008, Taidehuone Pudikki, Pudasjärvi

2007 Taidesalonki Husa, “Punk Panther”, Tampere

2006 Galerie Forsblom projects

2006 Kalevala exhibition, Juminkeko/Kuhmo

2006 Final exhibition of the Academy of Fine Arts, Kunsthalle Helsinki

2006 Exhibition of Young Artists, Artists’ Association of Finland

2005 Summer exhibition of the Academy of Fine Arts

2005 The Art of Analyste, Art Competition Exhibition, Sanomatalo

2003 The Art of Analyste, Art Competition Exhibition, Sanomatalo

2001 Lakari school summer exhibition, Pudasjärvi


Public Works

2013 Public art work in a new kindergarten in Pudasjärvi City




Helsinki Art Museum

Finnish State Art Collection

Oulu City Art Museum

Hämeenlinna Art Museum

Riihimäki Art Museum

Saastamoinen Fund

Wihuri Fund

Kuntsi Museum of Modern Art, Lars Swanljung collection

Esko Jääsalo collections

Seppo Fränti collections

Artists’ Association of Finland

Finnish Academy of Fine Arts

Analyste oyj

Newspaper Iijokiseutu’s collection

Private collections



2018 Alfred Kordelin Fund, project grant

2018 Arts Council of Finland, Artists exhibition compensation grant

2017 Arts Council of Finland, one-year grant

2016 Arts Council of Finland, project grant

2016 Arts Council of Finland, Artists exhibition compensation grant

2015 Arts Council of Finland, project grant

2015 Arts Council of Finland, one-year grant

2014 Arts Council of Finland, project grant

2014 Arts Council of Finland/Häme, project grant

2013 The Finnish Cultural Foundation, 6-month grant

2012 Alfred Kordelin Fund, project grant

2012 The Finnish Cultural Foundation, Pohjois-Pohjanmaa Regional Fund's stipend for public art

2011 The Finnish Cultural Foundation, one-year grant

2011 Paulo Foundation's grant

2011 Arts Council of Finland, project grant

2010 Arts Council ig Häme, project grant

2009 Alfred Kordelin Foundation's grant

2009 Niilo Helander Foundation's grant

2008 The Finnish Cultural Foundation, Häme Regional Found's grant

2008 Riihimäki City's art grant

2008 Arts Council of Finland, project grant

2007 Artists’ Association of Finland, grant for young artists

2007 Oskar Öflund Foundation's grant

2007 Arts Council of Finland, Artists exhibition compensation grant

2006 The Finnish Cultural Foundation, Uusimaa Regional Found's grant

2006 Finnish Academy of Fine Arts stipend

2003 The Art of Analyste Art Competition, first price



2008 - Finnish Painters' Union (Aspirant membership)

2008 - Ars Häme

2007 - Riihimäen Artist Association